i think this images is fantastic...today's jones!
Reading through the play kept making me think of a really tacky wealthy man, and when thinking of that I connected it with Macklemore and Thrift Shop. I wouldn't want to completely modernize everything, but I would wanna use these the tacky furs and suit of a "pimp" as inspiration for what to create for Emperor Jones' attire and even more importantly his home in scene 1. I feel his home would be extremely ostentatious based on his demeanor and arrogant ways. He's constantly saying "Ain't I de Emperor" and putting himself on his own pedestal so everything has to be really out there to show just how much he falls by the end.
I really liked this use of shadows. I originally wanted to figure out lighting and have different mini sets for each memory or vision Emperor Jones has, but I also wanna consider what is most functional. I think it'd be interesting to have translucent screens upstage as well as on the sides, but perhaps on the sides at an angle. People would be behind them and reenact the slave trade as well as the ships coming in like this scene is showing. So we would also hear the actual voices. But this also brings into play what I would do with the actual forest. I'm not sure if I'd want the forest to be just screen print or something that come down more on Emperor Jones in times of fear. I'm still playing around with this. However going against what I said earlier, if I did wanna use actual people in Emperor Jones' space instead of screens, I'd want them to blend. Even though this is black and white they seem to blend in with the set itself, and I think it would be particularly terrifying to the emperor if people blended and essentially came out of "nowhere" like the play is saying and once they disappeared they'd blend in again. I'm just still figuring out if I want the set to be more real or a play on the mind with lighting/imagery.
WEEK 7
with chief Smithers and his team idea of the slave ship, just an interesting thing to see an advertisement for a slave auction....plan is to have a photo of emperor jones "standing" on the slave he has. the last image is serving as an inspiration for that idea
not necessarily like this image haha! but emperor jones is very arrogant so there will a painting that is similar almost. he would be lying in a field or woods. something scenic. and he would be lying like this, though not with a basketball and with some sort of lower attire instead of being naked. In the background would be a witch chief who continuously rises through the play and gets closer until he comes out of the painting. Slow then faster as the action of the play builds up. On the other would be a lion who would gradually get closer as well until he comes out, instead of a crocodile.
I like how this looks as it looks like the animals are coming close to you. The painting would look somewhat like that in the end. Not roaring and whatnot. But the coming at you effect because they would be actual people coming out of the painting. in the middle of the room, i imagine emperor jones would have an obnoxious fur animal print bed or massive couch. if not animal print it would just be obnoxious fur. this is instead of his throne/chair. people (the prisoners) would come from underneath this because it would be on a level.
The messy map of my design.....
Lines:
"Who dare wake up de Emperor?" -p. 242
"Ain't I de Emperor? De laws don't go for him." -p. 244
"He reaches in under the throne and pulls out an expensive Panana hat..." p. 252..........These lines speak volumes about his character. These lines inspired me to make him someone who would have a portrait with a slave or of himself in his own living room. He is a tacky, "nigga rich" man. He believes his own hype, and acts above everyone else for no real reason. Even when he is about to get attacked he is still reaching for his expensive gear.
"From the distant hills comes the faint, steady thump of a tomtom, low and vibrating." p. 250....................By the end this will be the sound of NCIS (Smithers and co) banging down the door
"From the formless creatures...." p. 256.......................flashing lighting scheme and sounds
Really very good work so far...make sure I spend some time looking at your designs next class!!
Romanticism (1800-1850) Romanticism was created in response to the Enlightenment. People wanted to created art that represented their views on the people during that time. Women were a major staple of paintings. But violence, terror, nature, animals, and death were also quite prominent. and also heroism, beauty and virtue...
(https://apah.wikispaces.com/Women+%26+Romanticism) (http://www.metmuseum.org/toah/hd/roma/hd_roma.htm)
Théodore Gericault (1791-1824): Raft of the Medusa (1819)
Horace Vernet (1789-1863): Mazeppa (1827)
Marie-Denise Villers (1774-1821): Self portrait, Young Woman Drawing (1801)
Impressionism (1874-1886) The paintings were of the modernized world and often looked like sketches that could be unfinished. There was a big focus on color: unblended colors, shadows, and vibrant colors as well as lighting. They painted landscapes and various forms of entertainment.
(http://www.metmuseum.org/toah/hd/imml/hd_imml.htm)
Claude Monet (1840-1926): Impression, Sunrise (1872-1873, exhibited in 1874) (start of the movement)
Mary Cassatt (1844-1926): In the Loge (1878)
Alfred Sisley (1839-1899): Allee of Chestnut Trees (1878)
Ernst Ludwig Kirchner (1880-1938): Davos under Snow (1923)
more romantic
Zinaida Serebriakova (1884-1967): The Harvest (1915)
Abstract Art(1911-mid 20th century) These paintings don't actually depict anything realistic or physical. Everything is distorted by brushstrokes, colors, shapes, etc. Color was important because it encourages different emotions. It encompasses forms of expressionism, as well as cubism.
(http://abstractart.20m.com/)
(http://arthistory.about.com/od/glossary_a/a/a_abstract_art.htm)
Wassily Kandinsky (1866-1944): Picture with a Circle (1911) (one of the first pieces)
Conceptual Art (1961-late 20th century) Created as a response to politics and the economy. It focused on expressing an idea not so much focusing on the object being presented. It is often considered to not even be art because it is so hardcore focused on whatever idea one is trying to get across. It is often a question between art and utility and where the boundaries are for both.
(http://www.moma.org/collection/details.php?theme_id=10065§ion_id=T018964#skipToContent)
(http://plato.stanford.edu/entries/conceptual-art/)
Tracey Emin (1963-present): My Bed (1999)
Damien Hirst (1965-present): The Physical Impossibility of Death in the Mind of Someone Living (1991)
dada...but works conceptually
Marcel Duchamp (1887-1968): Fountain (1917) (pre-conceptualism)
Tachisme (1940s-1950s): Another type of painting with an emphasis on color scheme, but more the presentation of color. Paint was often on the canvas as random dots and splotches instead of legitimate strokes. Often the paintings are landscapes.
(http://tachisme.blogspot.com.au/)
Maria Helena Vieira da Silva (1908-1992): Blanche (1958)
Wols (1913-1951): It's All Over-The City (1947)
Patrick Heron (1920-1999): Red Garden (1956)
Primitivism (1905-1935): Values ancestry and primal ways such as those from natives and prehistoric people. It used to describe African, Asian, and South American art. It is often used to describe folk art.
(http://www.moma.org/collection/theme.php?theme_id=10176)
Henri Rousseau (1844-1910): In a Tropical Forest Combat of a Tiger and a Buffalo (1908)
Grandma Moses (1860-1961): A Beautiful World (1948)
Pop Art (mid 1950s-early 1970s) It is all about pop culture and a material lifestyle of consumer goods. It was a way to express being happy post war times as well as response to the ads being seen in the media. Key characteristics are the bright colors, familiar media topics, comic book and newspaper influence, etc.
(http://arthistory.about.com/od/modernarthistory/a/Pop-Art-Art-History-101-Basics.htm)
Andy Warhol (1928-1987): Marilyn (1962)
Rosalyn Drexler (1926-present): Marilyn Pursued by Death (1967)
Roy Lichtenstein (1923-1997): Whaam! (1963)
Modernism (1860-1970s) It was big on connections to the modernism of society at the time. How different environments, objects, etc. were portrayed in the modern world. It was related to “Art Noveau,” which was all about decorative art and structured lines in the paintings. Really...I don't see how...?
(http://www.moma.org/collection/theme.php?theme_id=10054)
(http://www.moma.org/collection/theme.php?theme_id=10122) pop art
Edward Johnston (1872-1944): London Underground logo (1919)
expressionism
Vincent van Gogh (1853-1890): The Starry Night (1889)
Louise Nevelson (1899-1988): The Dark Ellipse (1974)
Post Modernism (1960s-mid 1980s) Came after the Modernist period. Started out highlighting architecture and later highlighted decorative and visual arts. It brought to light the cultural values of the time. It rejected tradition. There are is lots of collage work.
(http://www.moma.org/collection/theme.php?theme_id=10174)
(http://www2.iath.virginia.edu/elab/hfl0242.html)
Eva Hesse (1936-1970): untitled from the portfolio 7 Objects (1969)
Jeff Koons (1955-present): Puppy (1998)
Sam Gilliam (1933-present): Coffee Thyme (1988)
Dada (1916-1923) A form of Shock art. It contained obscenities, puns, and used basic objects as a form of art. The artists were encouraged by people's repulsion. It is colorful, satirical, and silly. The use of collage and readymade objects because of Dada and the main rule is “no rules.”
(http://arthistory.about.com/cs/arthistory10one/a/dada.htm)
Hans Arp (1886-1996): Shirt Front and Fork (1922)
\
Hannah Hoch (1889-1978): Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic (1919)
not sure I get this example...it from a dada artist but...
Marcel Duchamp (1887-1968): Rrose Selavy (1921)
Surrealism (early 1920s-1930) It began as a writing movement. The art contains many lines that ultimately form in twisted ways to become characters of the painting which are also meant to be symbolic. The artists did not believe in real convention of art, but instead surprising imagery. Focused on the unconscious as the site of creative inspiration...and dreams - influenced by Freud...
(http://www.metmuseum.org/toah/hd/surr/hd_surr.htm)
Max Ernst (1891-1976): Forest and Dove (1927)
Joan Miro (1893-1983): The Tilled Field (1923-1924)
Emmy Bridgwater (1906-1999): The Fountain (1945)
Formalism (late 19th century-early 20th century) It is based on formal qualities of art such as lines, color and texture. It is rooted in ancient thoughts such as the universe is made of all numerical relationships. It put more importance on the aesthetics and how an object was made instead of focusing on history and social context in reaction to having to live in an industrialized society.
(http://www.moma.org/collection/theme.php?theme_id=10083) figurative
Maurice Denis (1870-1943): Wave (1916)
fauvism
Roger Fry (1866-1934): River with Poplars (1912)
Realism (1840-late 19th century) It was about creating true depictions of actual life at the time. It began after the Revolution, and was a representation of the working class. It rejected the ideals of classical art and Romanticism, and painted what was directly seen.
(http://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm)
Gustave Courbet (1819-1877): The Desperate Man (1843-1845)
Marie Vorobieff (1892-1984): Portrait of Pablo Picasso (1956)
Fauvism (1898-1906) The movement was characterized by a violence of colors from paint tubes that were unmixed. The paint was displayed in spontaneous execution and bold surface design. It was one of the first avante garde movements.
(http://www.moma.org/collection/theme.php?theme_id=10081)
Henri Matisse (1869-1954): Still Life with Vegetables (1905-1906)
Maurice de Vlaminck (1876-1958): The River Seine at Chatou (1906)
Formalist -
Barrett Newman (1905-1970): Who's Afraid of Red, Yellow, and Blue? (1966)
Altermodernism (90s-present) The art after postmodernity. Art is based on capitalism. And cultural hybridization.
(http://www.adbusters.org/magazine/88/birth-of-altermodern.html) No...art of the globalised world..where news signs are invented across cultures that have ceased to matter...
Nan Goldin (1953-present): Misty and Jimmy Paulette in a Taxi, NYC (1991)
Subodh Gupta (1964-present): Line of Control (2008)
Marcus Coates: Firebird, Rhebok, Badger, and Hare (2008)
Ok...more than competent work...well done. I have highlighted some observations...that will require rethinking. C-
DRAMATURGICAL DATA
Interpretation:
-Modernization : As I read the play I imagined an arrogant black man who believed his own hype and put himself on his own pedestal, someone like Kanye West
-A man too wealthy for his own good (see lines below)
-A man attacked by the conscience he won't admit to: his guilt.
-Nothing is ever real, he imagines everything (see lines below)
-He ultimately commits suicide after driving himself crazy
Themes
-Wealth: Emperor Jones' obvious wealth
-Reality VS. YOU: In life there is a constant struggle of what your reality is may not be actual reality. Emperor Jones deals with this in his own. Nothing he experiences actually happens, but it feels so real.
-Blacks in society & history: History has shown that in the past whites were above blacks, never a black on top of the pyramid, being able to talk down to whites
-Equality: The slaves of Emperor Jones, the white people versus the blacks/Emperor Jones
1) Change of Crocodile to Lion
In the jungle the lion is known to be "King of the Jungle" for example the movie The Lion King. Emperor Jones is king of everything in his area. However, another interpretation of the lion is in the Bible, where the lion represents the Devil. Emperor Jones is also considered evil by many of his actions in the play. So when he shoots the lion, he is killing something that is evil, but it is symbolic because really he is killing himself, after he has been suffering and basically dying the entire play. The lion has a double meaning as the double sides of Emperor Jones.
2) Emperor Jones' ostentatious ways
While reading the play I kept thinking of Teresa Guidice of the Real Housewives of New Jersey. During the first episode of the show she paid thousands of dollar in cash to show off her wealth on national television. This reminded me of something Emperor Jones would do.
3) Emperor Jones' Arrogance-Lines
Emperor Jones says certain things at the beginning of the play that made me realize his arrogance immediately, which also tied in with how ostentatious his home was.
"Talk polite, white man! Talk polite, you heah me! I'm boss heah now, is you fergettin'?" page 242
"Ain't I de Emperor? De laws don't go for him." page 244
Even Emperors have to follow rules, but it is clear in the text that Emperor Jones believes he rules all and it is his world, everyone else is just living in it. He puts himself on his own pedestal.
4) Emperor Jones' "Reality"-Line
With the images, Emperor Jones saw it is obvious, his conscience is what attacked him. Nothing that happens is real, which is why it made sense that his home would "attack" him because everything he had done came back to haunt him. Smither's line at the end of the text also confirmed that things were not real at all, because when he returns to Emperor Jones' home everything is the same except Emperor Jones has killed himself.
"And I s'pose you think it's yer bleedin charms and yer silly beatin' the drum that made 'im run in a circle when e'd lost 'imself, don't yer?" page 274
5) Latrell Spencer
The character of Latrell Spencer in White Chicks was very arrogant and had a painting of himself in his living room. While reading the lines above and the entire play, I kept thinking of him because Emperor Jones is this arrogant in the modern day world. Except he'd have a lion rug because he is "king."
6) The Boat People
I kept thinking about The Sixth Sense when doing the boat people, because I wanted them to provide a haunting effect for the audience. So I thought of spirits being everywhere in the movie. And with the dark lighting, to semi dark lighting and them standing behind him watching I felt it gave that eerie effect because in the movie, the spirits were watching the boy.
7) Little Creatures
I didn't want the creatures that haunt Emperor Jones to appear fake, or seem corny. Finally, I remembered the movie, Brave when Merida follows little light creatures to a witch's cave, and realized I could do that. Instead of floating lights, it'd be a flickering lighting scheme and sounds that followed in different directions. The lights would be as big as the ones in the movie but a darker shade of blue to be haunting for the Emperor.
8) Modernization
As I read the play, it didn't feel realistic that a man of the past would have so much power or that he would proud of conquering slaves. So I had to read it with a modern feel and when I did I imagined someone like Kanye West. A black man who believes his own hype in the industry and would feel fine treating anyone like crap, even black people. 9) Slave Auction
I wanted the tables to be turned and make it different somehow. Since the slaves were property, I thought of "Animal Farm" and how the animals turned the tables and revolted. The slaves selling their own frame was kind of like a spiritual revolt for them, especially since Emperor Jones has considered them like his "pets." 10) Shadows & Projection
My initial idea had been to have people standing as the paintings and portraits the entire time, but I realized that couldn't be realistic. So I came back to my mood board from the beginning, and remembered I had put down shadows. I didn't want the pictures and paintings to be shadows, but then I had an idea about screens and people somehow walking through those. It still felt like it couldn't really work. Then finally I came across this picture and realized it could be projection images. And the slaves, lion and watch doctor could come through those and it would still have the same effect I wanted of things coming to life. OK...a competent dramaturgical chronicle...well done. My main reservation is that it appears to contain too many conceptual grounds...would have been beneficial to find one fundamental design frame/concept. Nevertheless = C
Reading through the play kept making me think of a really tacky wealthy man, and when thinking of that I connected it with Macklemore and Thrift Shop. I wouldn't want to completely modernize everything, but I would wanna use these the tacky furs and suit of a "pimp" as inspiration for what to create for Emperor Jones' attire and even more importantly his home in scene 1. I feel his home would be extremely ostentatious based on his demeanor and arrogant ways. He's constantly saying "Ain't I de Emperor" and putting himself on his own pedestal so everything has to be really out there to show just how much he falls by the end.
I really liked this use of shadows. I originally wanted to figure out lighting and have different mini sets for each memory or vision Emperor Jones has, but I also wanna consider what is most functional. I think it'd be interesting to have translucent screens upstage as well as on the sides, but perhaps on the sides at an angle. People would be behind them and reenact the slave trade as well as the ships coming in like this scene is showing. So we would also hear the actual voices. But this also brings into play what I would do with the actual forest. I'm not sure if I'd want the forest to be just screen print or something that come down more on Emperor Jones in times of fear. I'm still playing around with this.
WEEK 7
not necessarily like this image haha! but emperor jones is very arrogant so there will a painting that is similar almost. he would be lying in a field or woods. something scenic. and he would be lying like this, though not with a basketball and with some sort of lower attire instead of being naked. In the background would be a witch chief who continuously rises through the play and gets closer until he comes out of the painting. Slow then faster as the action of the play builds up. On the other would be a lion who would gradually get closer as well until he comes out, instead of a crocodile.
The messy map of my design.....
Lines:
"Who dare wake up de Emperor?" -p. 242
"Ain't I de Emperor? De laws don't go for him." -p. 244
"He reaches in under the throne and pulls out an expensive Panana hat..." p. 252..........These lines speak volumes about his character. These lines inspired me to make him someone who would have a portrait with a slave or of himself in his own living room. He is a tacky, "nigga rich" man. He believes his own hype, and acts above everyone else for no real reason. Even when he is about to get attacked he is still reaching for his expensive gear.
"From the distant hills comes the faint, steady thump of a tomtom, low and vibrating." p. 250....................By the end this will be the sound of NCIS (Smithers and co) banging down the door
"From the formless creatures...." p. 256.......................flashing lighting scheme and sounds
Really very good work so far...make sure I spend some time looking at your designs next class!!
Romanticism (1800-1850) Romanticism was created in response to the Enlightenment. People wanted to created art that represented their views on the people during that time. Women were a major staple of paintings. But violence, terror, nature, animals, and death were also quite prominent. and also heroism, beauty and virtue...
(https://apah.wikispaces.com/Women+%26+Romanticism)
(http://www.metmuseum.org/toah/hd/roma/hd_roma.htm)
Théodore Gericault (1791-1824): Raft of the Medusa (1819)
Horace Vernet (1789-1863): Mazeppa (1827)
Marie-Denise Villers (1774-1821): Self portrait, Young Woman Drawing (1801)
Impressionism (1874-1886) The paintings were of the modernized world and often looked like sketches that could be unfinished. There was a big focus on color: unblended colors, shadows, and vibrant colors as well as lighting. They painted landscapes and various forms of entertainment.
(http://www.metmuseum.org/toah/hd/imml/hd_imml.htm)
Claude Monet (1840-1926): Impression, Sunrise (1872-1873, exhibited in 1874) (start of the movement)
Mary Cassatt (1844-1926): In the Loge (1878)
Alfred Sisley (1839-1899): Allee of Chestnut Trees (1878)
Expressionism (Late 19th century to early 20th century) There is a big focus on inner emotions and being extreme in the presentation. It mostly came from Germany, and has a fascination with German psychology and ideals. Instead of physical landscapes it is about the internal mind and people's “truth.” There is an emphasis on intense colors to express one's self.
(http://www.guggenheim.org/new-york/collections/collection-online/movements/195214)
(http://www.artyfactory.com/art_appreciation/art_movements/expressionism.htm)
Vincent Van Gogh (1853-1890): Sunflowers (1888)
Ernst Ludwig Kirchner (1880-1938): Davos under Snow (1923)
Zinaida Serebriakova (1884-1967): The Harvest (1915)
Abstract Art(1911-mid 20th century) These paintings don't actually depict anything realistic or physical. Everything is distorted by brushstrokes, colors, shapes, etc. Color was important because it encourages different emotions. It encompasses forms of expressionism, as well as cubism.
(http://abstractart.20m.com/)
(http://arthistory.about.com/od/glossary_a/a/a_abstract_art.htm)
Wassily Kandinsky (1866-1944): Picture with a Circle (1911) (one of the first pieces)
Fernand Leger (1881-1955): Railway Crossing (1919)
Sonia Delaunay (1885-1979): Rythme (1938)
Conceptual Art (1961-late 20th century) Created as a response to politics and the economy. It focused on expressing an idea not so much focusing on the object being presented. It is often considered to not even be art because it is so hardcore focused on whatever idea one is trying to get across. It is often a question between art and utility and where the boundaries are for both.
(http://www.moma.org/collection/details.php?theme_id=10065§ion_id=T018964#skipToContent)
(http://plato.stanford.edu/entries/conceptual-art/)
Tracey Emin (1963-present): My Bed (1999)
Damien Hirst (1965-present): The Physical Impossibility of Death in the Mind of Someone Living (1991)
Marcel Duchamp (1887-1968): Fountain (1917) (pre-conceptualism)
Tachisme (1940s-1950s): Another type of painting with an emphasis on color scheme, but more the presentation of color. Paint was often on the canvas as random dots and splotches instead of legitimate strokes. Often the paintings are landscapes.
(http://tachisme.blogspot.com.au/)
Maria Helena Vieira da Silva (1908-1992): Blanche (1958)
Wols (1913-1951): It's All Over-The City (1947)
Patrick Heron (1920-1999): Red Garden (1956)
Primitivism (1905-1935): Values ancestry and primal ways such as those from natives and prehistoric people. It used to describe African, Asian, and South American art. It is often used to describe folk art.
(http://www.moma.org/collection/theme.php?theme_id=10176)
Henri Rousseau (1844-1910): In a Tropical Forest Combat of a Tiger and a Buffalo (1908)
Mikhail Larionov (1881-1964): Self Portrait (1910)
Grandma Moses (1860-1961): A Beautiful World (1948)
Pop Art (mid 1950s-early 1970s) It is all about pop culture and a material lifestyle of consumer goods. It was a way to express being happy post war times as well as response to the ads being seen in the media. Key characteristics are the bright colors, familiar media topics, comic book and newspaper influence, etc.
(http://arthistory.about.com/od/modernarthistory/a/Pop-Art-Art-History-101-Basics.htm)
Andy Warhol (1928-1987): Marilyn (1962)
Rosalyn Drexler (1926-present): Marilyn Pursued by Death (1967)
Roy Lichtenstein (1923-1997): Whaam! (1963)
Modernism (1860-1970s) It was big on connections to the modernism of society at the time. How different environments, objects, etc. were portrayed in the modern world. It was related to “Art Noveau,” which was all about decorative art and structured lines in the paintings. Really...I don't see how...?
(http://www.moma.org/collection/theme.php?theme_id=10054)
(http://www.moma.org/collection/theme.php?theme_id=10122)
Edward Johnston (1872-1944): London Underground logo (1919)
Vincent van Gogh (1853-1890): The Starry Night (1889)
Louise Nevelson (1899-1988): The Dark Ellipse (1974)
Post Modernism (1960s-mid 1980s) Came after the Modernist period. Started out highlighting architecture and later highlighted decorative and visual arts. It brought to light the cultural values of the time. It rejected tradition. There are is lots of collage work.
(http://www.moma.org/collection/theme.php?theme_id=10174)
(http://www2.iath.virginia.edu/elab/hfl0242.html)
Eva Hesse (1936-1970): untitled from the portfolio 7 Objects (1969)
Jeff Koons (1955-present): Puppy (1998)
Sam Gilliam (1933-present): Coffee Thyme (1988)
Dada (1916-1923) A form of Shock art. It contained obscenities, puns, and used basic objects as a form of art. The artists were encouraged by people's repulsion. It is colorful, satirical, and silly. The use of collage and readymade objects because of Dada and the main rule is “no rules.”
(http://arthistory.about.com/cs/arthistory10one/a/dada.htm)
Hans Arp (1886-1996): Shirt Front and Fork (1922)
Hannah Hoch (1889-1978): Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic (1919)
Marcel Duchamp (1887-1968): Rrose Selavy (1921)
Surrealism (early 1920s-1930) It began as a writing movement. The art contains many lines that ultimately form in twisted ways to become characters of the painting which are also meant to be symbolic. The artists did not believe in real convention of art, but instead surprising imagery. Focused on the unconscious as the site of creative inspiration...and dreams - influenced by Freud...
(http://www.metmuseum.org/toah/hd/surr/hd_surr.htm)
Max Ernst (1891-1976): Forest and Dove (1927)
Joan Miro (1893-1983): The Tilled Field (1923-1924)
Emmy Bridgwater (1906-1999): The Fountain (1945)
Formalism (late 19th century-early 20th century) It is based on formal qualities of art such as lines, color and texture. It is rooted in ancient thoughts such as the universe is made of all numerical relationships. It put more importance on the aesthetics and how an object was made instead of focusing on history and social context in reaction to having to live in an industrialized society.
(http://www.moma.org/collection/theme.php?theme_id=10083)
Maurice Denis (1870-1943): Wave (1916)
Roger Fry (1866-1934): River with Poplars (1912)
Realism (1840-late 19th century) It was about creating true depictions of actual life at the time. It began after the Revolution, and was a representation of the working class. It rejected the ideals of classical art and Romanticism, and painted what was directly seen.
(http://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm)
Gustave Courbet (1819-1877): The Desperate Man (1843-1845)
Jean-Francois Millet (1814-1875): Woman Baking Bread (1854)
Rosa Bonheur (1822-1899): Weaning the Calves (1879)
Cubism (early 20th century) It is comprised of geometric shapes, multiple views, and the idea of the fourth dimension. It depicts the world as it is, not how it seems. The artists did not believe in copying nature or tradition, it was about making the canvas 2 dimensional. Landscapes were rare.
(http://www.metmuseum.org/toah/hd/cube/hd_cube.htm)
(http://arthistory.about.com/od/modernarthistory/a/cubism_10one.htm)
Juan Gris (1887-1927): The Guitar (1918)
Piet Mondrian (1872-1944): Gray Tree (1912)
Marie Vorobieff (1892-1984): Portrait of Pablo Picasso (1956)
Fauvism (1898-1906) The movement was characterized by a violence of colors from paint tubes that were unmixed. The paint was displayed in spontaneous execution and bold surface design. It was one of the first avante garde movements.
(http://www.moma.org/collection/theme.php?theme_id=10081)
Henri Matisse (1869-1954): Still Life with Vegetables (1905-1906)
Maurice de Vlaminck (1876-1958): The River Seine at Chatou (1906)
Alice Bailly (1872-1938): Self Portrait (1917)
Abstract Expressionism (early 1940s & 1950s) There is an emphasis on dynamic, energy, and vibrant uses of color. The artists valued spontaneity and improvisation. It was referred to at the New York School and Action Painting.
(http://www.moma.org/collection/theme.php?theme_id=10051)
(http://www.metmuseum.org/toah/hd/abex/hd_abex.htm)
Lee Krasner (1908-1984): Night Creatures (1965)
Franz Kline (1910-1962): High Street (1950)
Barrett Newman (1905-1970): Who's Afraid of Red, Yellow, and Blue? (1966)
Altermodernism (90s-present) The art after postmodernity. Art is based on capitalism. And cultural hybridization.
(http://www.adbusters.org/magazine/88/birth-of-altermodern.html) No...art of the globalised world..where news signs are invented across cultures that have ceased to matter...
Nan Goldin (1953-present): Misty and Jimmy Paulette in a Taxi, NYC (1991)
Subodh Gupta (1964-present): Line of Control (2008)
Marcus Coates: Firebird, Rhebok, Badger, and Hare (2008)
Ok...more than competent work...well done. I have highlighted some observations...that will require rethinking. C-
DRAMATURGICAL DATA
Interpretation:
-Modernization : As I read the play I imagined an arrogant black man who believed his own hype and put himself on his own pedestal, someone like Kanye West
-A man too wealthy for his own good (see lines below)
-A man attacked by the conscience he won't admit to: his guilt.
-Nothing is ever real, he imagines everything (see lines below)
-He ultimately commits suicide after driving himself crazy
Themes
-Wealth: Emperor Jones' obvious wealth
-Reality VS. YOU: In life there is a constant struggle of what your reality is may not be actual reality. Emperor Jones deals with this in his own. Nothing he experiences actually happens, but it feels so real.
-Blacks in society & history: History has shown that in the past whites were above blacks, never a black on top of the pyramid, being able to talk down to whites
-Equality: The slaves of Emperor Jones, the white people versus the blacks/Emperor Jones
1) Change of Crocodile to Lion
In the jungle the lion is known to be "King of the Jungle" for example the movie The Lion King. Emperor Jones is king of everything in his area. However, another interpretation of the lion is in the Bible, where the lion represents the Devil. Emperor Jones is also considered evil by many of his actions in the play. So when he shoots the lion, he is killing something that is evil, but it is symbolic because really he is killing himself, after he has been suffering and basically dying the entire play. The lion has a double meaning as the double sides of Emperor Jones.
2) Emperor Jones' ostentatious ways
While reading the play I kept thinking of Teresa Guidice of the Real Housewives of New Jersey. During the first episode of the show she paid thousands of dollar in cash to show off her wealth on national television. This reminded me of something Emperor Jones would do.
3) Emperor Jones' Arrogance-Lines
Emperor Jones says certain things at the beginning of the play that made me realize his arrogance immediately, which also tied in with how ostentatious his home was.
"Talk polite, white man! Talk polite, you heah me! I'm boss heah now, is you fergettin'?" page 242
"Ain't I de Emperor? De laws don't go for him." page 244
Even Emperors have to follow rules, but it is clear in the text that Emperor Jones believes he rules all and it is his world, everyone else is just living in it. He puts himself on his own pedestal.
4) Emperor Jones' "Reality"-Line
With the images, Emperor Jones saw it is obvious, his conscience is what attacked him. Nothing that happens is real, which is why it made sense that his home would "attack" him because everything he had done came back to haunt him. Smither's line at the end of the text also confirmed that things were not real at all, because when he returns to Emperor Jones' home everything is the same except Emperor Jones has killed himself.
"And I s'pose you think it's yer bleedin charms and yer silly beatin' the drum that made 'im run in a circle when e'd lost 'imself, don't yer?" page 274
5) Latrell Spencer
The character of Latrell Spencer in White Chicks was very arrogant and had a painting of himself in his living room. While reading the lines above and the entire play, I kept thinking of him because Emperor Jones is this arrogant in the modern day world. Except he'd have a lion rug because he is "king."
6) The Boat People
I kept thinking about The Sixth Sense when doing the boat people, because I wanted them to provide a haunting effect for the audience. So I thought of spirits being everywhere in the movie. And with the dark lighting, to semi dark lighting and them standing behind him watching I felt it gave that eerie effect because in the movie, the spirits were watching the boy.
7) Little Creatures
I didn't want the creatures that haunt Emperor Jones to appear fake, or seem corny. Finally, I remembered the movie, Brave when Merida follows little light creatures to a witch's cave, and realized I could do that. Instead of floating lights, it'd be a flickering lighting scheme and sounds that followed in different directions. The lights would be as big as the ones in the movie but a darker shade of blue to be haunting for the Emperor.
8) Modernization
As I read the play, it didn't feel realistic that a man of the past would have so much power or that he would proud of conquering slaves. So I had to read it with a modern feel and when I did I imagined someone like Kanye West. A black man who believes his own hype in the industry and would feel fine treating anyone like crap, even black people.
9) Slave Auction
I wanted the tables to be turned and make it different somehow. Since the slaves were property, I thought of "Animal Farm" and how the animals turned the tables and revolted. The slaves selling their own frame was kind of like a spiritual revolt for them, especially since Emperor Jones has considered them like his "pets."
10) Shadows & Projection
My initial idea had been to have people standing as the paintings and portraits the entire time, but I realized that couldn't be realistic. So I came back to my mood board from the beginning, and remembered I had put down shadows. I didn't want the pictures and paintings to be shadows, but then I had an idea about screens and people somehow walking through those. It still felt like it couldn't really work. Then finally I came across this picture and realized it could be projection images. And the slaves, lion and watch doctor could come through those and it would still have the same effect I wanted of things coming to life.
OK...a competent dramaturgical chronicle...well done. My main reservation is that it appears to contain too many conceptual grounds...would have been beneficial to find one fundamental design frame/concept. Nevertheless = C